In the showstopping montage of trick shots in Sherlock, Jr. (1924), Keaton’s hero, a film projectionist who’s fallen asleep on the job, climbs into the frame of a movie in progress. As the movie he’s entered cuts from one landscape to another, he’s suddenly stranded on a rock amid pounding surf. Diving in, he finds himself landing headfirst in a snowbank, which transforms in its turn into a bench in an elegant garden. This dizzying demonstration of the power of film editing seems to predict the not-yet-made work of Soviet Director Dziga Vertov, whose avant-garde documentaries used montage to explore how motion-picture technology was changing human perception.
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